Pushing Color and Tone
There's another aspect of this which I want to share it maybe a little bit of a technical di aggression so please allow me the luxury of like about a minute I'm going to just tigress one minute about something that's a bit technical and that is to do with color we can use this in our paintings in painter but it is a bit technical we're going toe I'm just going to share this and then for those of you who want to run with it go friend and those of you who is like god why is he sharing this? Just forget it so what's interesting also about this painting is, uh something called well color simpleton eighty on dh equal luminant contrast is equal luminant contract I'm going to explain that and you're going to see it because it sounds like esso te so technical term but it's so powerful so there is a sense of shimmering in this image on dh part of the reason it shimmers is the visual perception system of the human brain because what we do mention we have the you know, the rods and cones we have ...
receptors that are very sensitive to tone on dh senses that are very simple, receptive to color and they used for different things one is more basic instinct of like sort of flight or fight and the other is identifying what is it on dh so our brain is continually working on two levels on dh interpreting on a color level on a black and white level. And so what? Whether its intent well it's it's intentional in the impact but whether money was thinking about this are not in time you know whether he tow what extent it was just intuitive what he did was he put down two colors adjacent to each other the blue and the orange in some which are equal luminant what I mean by that is if you turn this into a gray scale the sun disappears on dh when you have color, it appears and what that does to the brain is it creates a little bit off. It is a little bit of confusion and it creates a little bit of a dance going back and forth you see this a lot like with poppies in the field where you have red poppies in a green field with money and renoir and people and when you go to make it a black and white the illuminates you realize is the same but then you look at it in color and it's totally different on the brain is going back and forth and it gives a shimmering effect so he uses this thing great extent in that painting this is another money I just love the way he's worked with the brush strokes on dh talking a variety here we go residence a variety look at the variety of color in what he could have just done as one color oh are you know with a bit of shading he's got this rich, rich, rich range of color in his painting, and it just works so beautifully. Also, other things we can learn from is a note from this look at the direction of the brush strokes, so every brushstroke here or palette, knife stroke, everyone sculpts the form everyone and I can't emphasize enough how important that is in painter just because we're working on a shiny, slippery plastic surface or a glass surface that's our interfaith to making on the computer just because the interface is shiny on everything somehow it doesn't mean that there's any less reason not to put great intentionality into the direction of a brush showed so every single brush stroke that we ever put on our painting is sculpting. What we're doing is adding is adding to the sense ofthe form so that you see that beautifully here, you know you actually get over the feeling of the wind blowing through the trees because he's done those brush strokes with little flicks going to the upper left on then the the actual brushstrokes in the bark there, um, same set of poplars but done in a different season on dh, which, by the way, david hockney has been doing a lot of things with seasons as well, which is fascinating he's done serious of charcoal drawings the same place in different seasons acrylic drawings, ipad drawings, video walls again anybody who is going to be in the bay area san francisco bay area between now and january the twentieth go see that show is that the de young museum and it's full of interesting ideas um colossal digital prints but there we go working with themes like that is another suggestion for you, you know, out there in the online audience and also here because it's just it it's empowering and it's freeing up. So in other words, if you're doing a series of paintings on a theme, looking at different times of the day are different seasons or just different points of view by working on a serious you first will create a much deeper knowledge because the process of drawing and painting is in a sense, it's all about relating you'd relate and you observe at a much more intense level than if you just see something by it. So when you do are off something you observe it's so much deeper on dh bank encourage you to work on syria's on dh, then it also takes the pressure off that's what I wanted to say about the freeing because if you're working on a serious of ten twelve or who knows how many paintings based on a common theme it's not like you have to produce the masterpiece and you know it it's sort of if it doesn't turn out well you get you know, sort of get really upset like you just keep going and you can work on a ll the paintings and you go back and forth border that I'm going to do this this one work on this one that's not working I need to give it a break I work up so it's actually very powerful thing to work on themes and variation um andi you know with theme of trees we come back again to poor suzanne on dh on this is interesting because here we have this wonderful loose free way of interpreting the impression ofthe landscape trees on space with really nice chiseled brushstrokes on again what we see here is every brush, stroke, plane or direction is very critical so either way he's done the diagonal stroke coming up here the more vertical dabs here then he's got these diagonal strokes there that gives you the sense of the side of the hill he's really working with space in planes again just an inspirational thing look at that think about it when we're working in painting, maybe that'll pop into your mind now and then that's why I'm sharing all this because this is about expression on dh expression isn't just, you know making things up is also drawing upon ideas which we get from other people on dh you know, with money a way we're looking at uh you know, an impression and even with china it was an emo impression and then we come to our wonderful friend vincent van hough on dh wait turn a little bit less impression to expression so he is expressing a lot of emotion in his brushwork on dh rather than the subtle sort of shimmering you could just make it out in the mist type of thing he's got the bold outline so we can also learn so much from the example of vincent van hoff what is interesting here if you look carefully can you see the role canvas so something to think about it he didn't even cover his whole campus with paint he used the fabric as part of an element in his painting we can do that if you put a fabric as your underlying campus you know photograph of a fabric plump it there in your painting image as a background and then paint over it you can leave those gaps on dh use that in in your painting if you want I mean I'm just throwing things at you that stimulated by just you're looking at these wonderful, wonderful painters and what they did the wonderful structure of the paint, the physical structure, their love that I'd mentioned yes with yesterday that van love you know the japanese art he actually had a great collection which you can see today in amsterdam in the van hoch museum on de so we incorporated a lot of that in his paintings I just have to take a moment just a look when you look into his eyes I mean it's there's a lot of feeling that a lot of feeling on dh that's something that we can put into our paintings and ultimately we you know we will put in through our paintings that feeling no matter what and that's what's beautiful about and someone shared with me something they'd learn in design school one of their teachers had said because they were asked about style so you know what stars we do or should we you know, try out try to get a style on dh the teacher doubt said something to the effect ofthe you khun gnome or try to try to get a style than you can run away from your style meaning you're going to express yourself whether you want to or not in what you do is just going to come out so you don't have to try it's just there you know it doesn't have to be a try thing and they're of course another half and this wonderful wonderful use of dabs here little short brushstrokes on variety of color and tone okay, I really want to drive this home these paintings look so good because of the contrast because of the variety because of the sculpting look at that look at that in the sky the wonderful clouds so think about this in painter let's live really have some fun with pain and we don't have to stick with everything being all smooth and soft and disappearing or blended in we can be really rough with it on day one of the first things I remember about doing digital art was you know it was teaching in the mid nineties in palo alto on dh had early welcome tablets and someone was a bit afraid of the tablet on you know I don't wantto don't want to break anything on dh don't worry I said great thing is you can't you know you really can't break anything in painter oh or on the tablet and by the way as long as you save your files you know if pain crashes it doesn't really crashing and I used to have it but you can't break anything and unless you really accidentally stump on you're welcome stylist and then you just have to buy another one you're not gonna break welcome so in other words you could just go for it you can you can fight in and dig into your cavers and have fun with it don't have to be afraid or precious about it in any way there's another van with these amazing colors he was very bored and one thing that I really enjoyed with an horse work but seeing it when it came to the museum to orsay was re renovating and they sent their collection of impressionism of post impressionism around the world and came to san francisco and in the de young museum they painted these they had amazing room of an heart with deep indigo blue walls with gold frames around paintings like this anyway that's a little aside but something to think about when you're doing out with painted x tree is you know, how do you have a frame it and put it on a wall and make it make it snap so I want to try the indigo wall with the gold frame and your own van heart um so this is a painting by andre dra off his friend honoree matisse on dh there's a couple of things I want to share here so obviously the same thing we were talking about earlier cholera and tone you khun have a huge freedom of color but italians I so appreciated what you said when we went around in the morning and you know, we were talking about what we wanted and what I calls were and where we were going to go and you talked about you really want push your use of color and painter and think because this is the key and we're going to do some fun exercises with this but this is exactly addressing you know what you were talking about? Um so what we see here is when you convert the painting on the left to the painting on the right just take your de saturated, you know it's almost like a pencil drawing with shading it works tonally on dh that's why you're going to have these crazy colors in the face and the shadows, etcetera and it just works it looks it does the job. Um henry matisse is one of my heroes on dh I had the pleasure of being a tableau vivant as honorary matisse in the young museum on def you goto my paint box tv website gallery you actually speedo season photos of me doing that tableau, but one of the paintings that way havin this in san francisco here in the collection of the san francisco modern art museum is one of my favorites and it's called fem osha po on dh I'm not allowed to show it because a copyright reasons so what I want you want to do in the online audience out there is that, uh I think the creative life are gonna put a link. I'm going to put a link on my paint box tv dot com forward slash creative life paige but you're gonna have to just google it f e m e n n a u and then ch a p e you chapo woman in hat beautiful colored image where all the colors are non natural crazy abstract background andi apparently that well it was his wife and apparently she was wearing a black dress and everything andi just went wild with color and it works and actually that particular painting was bought by leo stein in about nineteen or seven when it was on exhibit and he brought it home on dh you know gertrude his sister and other people looked at it and what birth of you done is like this thing is ugly and you know it was very controversial at the time on by thing is wonderful andre there we go matisse by andre durant and in fact that painting along with paintings by people like duran were on exhibit in nineteen o seven when someone walks in one of the critics he looked at these ridiculously crazy colored works on the wall there was a sculpture based on a donatello in the middle and he wrote up a critique of the show and said it was like it was like wild beasts around the donatello on dh s o they became known as wolves which is wild beast in french on dh so this is by kandinsky on did you just see again what's interesting here is would be talking about color and pushing color boy oh boy oh boy this is pushing color and again I'm sorry to sound like a record with needle stuck I really know I do but variety variety variety, variety I mean look at that it's just like it's not just a blank sheet uh let's make the sky deep blue was it's like so many colors worked into this this is where you can have fun with paint really vary that color work into your paintings take the time to develop beautiful variety of rich surface on dh with color uh when it is used in a way and half close your eyes I don't know how easy it is half close your eyes look at that scene and you you can see the great black and white essence of the boat and you know the harbor on the shadow on the water reflection it's all there but is there in these crazy colors and again look at these colors and also defying here some you know, some of the things about oh make things in the distance dollar and more gray and less saturated and less shop so they've got in the background there the pink and the blue and I mean, you know, bright colors again is incredibly interpretive piece but actually works so I'm sharing these works which are all really you know, the group of frames around my teeth in the turn of the twentieth century that this is, uh I think manwin charles mangin just you know beautiful interpretive color that works on dh I just want you to see these just a za point of view on that by the way I think that was a vlaminck maurice fleming just a za point of view of let's look at some examples where people are going wild with color and it works so it gives you ideas for how you can stretch your own color we had a request from marie on maybe we need to get through it I'm not sure but she was wondering if you would talk a little bit more about the shimmer of the water both in the light and shadow on the kandinsky okay so let me just go back on dh er this one they can and I think this was yeah we went to dora and then kandinsky and the shema here again she was just asking for you to talk a little bit more of the shimmer of the water both in the light and in the shadow well it's very very interesting to look at paintings of water on I encourage you to go on line and do you know that the impression is there's a whole huge body of beautiful work of impressionists on the water on you see how they treated reflection on water this is interesting because it's it's a little in a sensitive little cruder it's not it's not your soft flowing brushstrokes it's sort of almost like blah really thick blocks but one thing I would say and what was her name? Marie or a hi marie thank you for the question so one of the things that's working at is really simple here that you could just see is direction of line and I mean it sounds rather obvious but it sometimes it you know if we're saying the obvious so what kandinsky is using here is these horizontal lines and then if you notice in the building he's gone to vertical lines I mean it's really simplistic to say that but it's also it's just true and then in the boat he's followed the line of the boat so in terms of this shimmering what he's also done he hasn't just done dark shadow on dh blue he's brought together in fact almost unified as a body of water which we read and interpret as a body of water by bringing the highlights their slightly changing the hue on dh then bringing continuing the reflection so these are the things that come out of observation and then translating what you observe into into the brush strokes um on dso that's very you know I think that's that's a very instructive to see that and thank you for the question so here we move on a little bit way moving back four with a little bit so we were in the the wild color of the foe's now we're in the commission portrait's and beautiful artistry of john singer sargent on dh lady agnew one of theirs a couple of things I want us to think about for photo painting where looking at examples like this is so instructive um when you have a photograph of a figure and close, you know, an address or something on dh you know there's a big shadows and then there's a highlight um if you just follow what's in the photo information, you will have a lot of blocks of uniformity it's just how it is but what I want you to look at here is that even in the flowing areas on, I'm not sure how well you can see their own camera, but there is variety and tonal variation going on all over the place there's also almost no pure white or pure black in this every black eyes actually tinted with different color, a lot of blues, etcetera so there's a lot of loose structure within every element. The other thing is, you know, we've got this faith which is almost photorealistic smooth, detailed, and then by the time we get to the folds down here, we've got something that almost looks more like a turner sort of abstract flowing, so this is that what I was talking about that with the slater it's not just the whole picture but anywhere in the region of your canvas, you choose the extent of photo realism versus abstraction and in fact what makes a dynamic composition is when you have variation of regions which are more realistic regions which a less so and, you know, depending how minimalistic you want to get someone like turner, he didn't really he gave you a tiny bit of clues, but not much but very effective on dh then someone like sergeant because he was doing these thing the this particular type of portrait is commissions they hate did a lot of realism and then a little bit of abstraction until he didn't have a client way had to please and then his truth itself came out and he just enjoyed paint and you can see that a master, a master of paint, one of the things I want to point out that we can learn about from sergeants approach to using paint is that, uh a cz he applied brushstrokes on this is something he shared with the students he wouldn't brush up to a contour he would always brush beyond a contour and then brush from the other direction beyond the contract so he didn't try to have a lot of sharp lines he actually simply overlapped on blended where needed on dh eso he sort of sort of really worked his surface in a very fluid way rather had these hard lines and it's not always easy to see that but it's something we can think about in painter is not worrying so much about harsh contours. This is also this vernon lee by john singer sargent totally different on dh something is something about this particular portrait. I just think it's so wonderful. So here we go. We're in a kiss car a light dark, predominantly light dark composition this is not really so much about color, although having said that the warm of faith that the cooler block on the top right really helps the dynamism of this painting. But what I love is the simplicity of it on dh so when you again half close your eyes and you look at this powerful composition there's a really simple shapes. And then when you look at how he's described highlights in the glasses on on the lower lip is like one and then just tiny second dab and that's it so so he's very selective in his in his dabs, you know, he's laid out the ground work he's done in his construction of his composition on dh then just finally he's got he's done one dab there on the glass and that's all that needed is amazing, just like the china in the middle of that painting, by the way, think out, you know think how scary that could have bean you know you've got that one dab and you only have that one chance to do it is like a lot of concentration, a lot of concentration. I love this this's el julio and it's in the gardner isabella gardner museum in boston. Uh, it's. Just fabulous. This is hugh, just like fifteen foot wide, nine feet high. If you're ever in boston, pay a visit to it, has anyone here seen this painting? Life? No, it's, just dramatic. But what I want to show you is, um, just, uh, the use ofthe atmosphere of drawing the eye in here. I mean, you just get this incredible drama from what? Sergeant dunn in the back wall there with shadow it's, almost like a fiery energy coming out of the dancer flamenco and talking of dance. Um, here we go. Do one of the many, many paintings that they got did of dance rehearsals in thie paris opera, rula pelletier on dh gain his classic sort of working of composition with cut off figures and various elements, but the things that are also love to see here is his use of accent color is using all the ribbons, the green, the oranges on the blues on the these air, really the essential elements that then they're like dabs of paint I mean they are to have the paint but but in a sense the ribbons act like dabs of paint which brings life really strong verticals and diagonals things to think about when we're painting and again cut off compositions use of the empty space another thing that I want to draw your attention to hear which is relevant to what we're going to do in painter is you know here we have a huge blank hair it again it's like the turner example you know you have these big blank areas sometimes in your compositions on dh well I want you know what I think wonderful is if you just really work into these areas on dh have fun with them on dh create structure what I want to show is that there's a lot of structure on dh work into an area that looks sort of like well isn't that just plain he really works into those surfaces let's talk a little bit about that abstraction and realism dichotomy so this is uh a painting by another artist I greatly admire on that is walking suroyo so he was a spanish sort of artist around the same time a sergeant a little bit later they overlapped a bit he was valencia in spain this's self portrait what I love about this is that if you look at the background I mean that's just abstract marks so think about this example as well you can really be very abstract ing your backgrounds if you want on the femur shop o when you see it e I mean you'll see his beautiful colored abstract background clearly it wasn't the background he was looking at he just had fun is is a bit like you know sort of you know muck up under painting in pain but I just want to want us to appreciate how rough you can get and yet how you can hone in on incredible intensity of likeness with the portrait this is also destroyers work on dh he has ah lot of work actually in the san diego museum of arts of anyone in self in california definitely pay a visit and see is where of course also in spain so what I think really interesting here is the uh is the range of color in his highlights and in his shadows very very instructive we can learn so much from looking at the example of this painting by saraya because it's so tempting when we have you know white clothing or we've got a big shadow area in a painting is just like let's you know make that a big shadow area and lets you know that's white but look look att the first with this hardly any white it's actually blues and oranges and creams and look at the level of detail and brush work even in the white clothing on in the shadow areas it's just really worked into that. I want us to think about that as we are working in painting because some of this we have to generate from ourselves because we won't always be in the photograph similarly with thiss fisherwoman also by saraya and you look at the use of color and brushstroke on dh look, you see that glow there's the orange got a little bit of a tint of orange breaststroke here he's put these brush strokes here with a little bit of also that, uh pink orange so using using wonderful use of color in the white and always just bored brushstrokes it's not fussed over a lot of work where it's just like bold brush park um renoir on dh talking of color and use of color obviously we have some very nice complimentary color that brings our attention there right to the couple on dh with the orange on the blue from opposite sides of the color ring and in painter we have the the hue ring and we can use that as a sort of simplistic color wheel because roughly speaking what's on the opposite sides a compliment and you can use them tio more dramatic effect also the use of the red and this is something else. So we saw the use of a dollop of color by turner at the beginning and that dollop of red really makes this picks up a little bit of the red in the dress um also by renoir on dh I wanted to share with you here not quite as dramatic as the impression that love but you can see that if you look in the tree or that the red and the greens or merging toe one so there is a shimmering effect there but also for those of you doing landscape paintings you know when you look at the examples of people like memoir mon ey on how they worked into the graph and foliage there's so much so much going on there and you know it it's not just a few brushstrokes over there's a bit of grass really work into it in a beautiful way on dh that's something again I just think we can really play with and had a lot of fun with in painter um yeah of course very famous renoir which is in the phillips collection in washington d c again we're worth visiting on dh you know essentially a constructed scene and we talked about you know digger on you know on day one at the beginning we talked about big are creating scenes that never existed in reality andi you know renoir in essence you know put together the scene and he had a concept for composition on dh you know all these aerial people and they did pose for him but this scene that we see essentially was created by him but what I love about it is obviously there's a lot of dynamic energy of this and so many stories you wonder what the stories are but also what we can notice again is thievery I ity of marks on the use of incredible interesting varied tone and color in the whites so there's lots of white clothing on vests and you know the tablecloth but everything is rich so let's let's try doing that in painting everything's got stuff going on that you know makes it rich andi uh so here we have of course, mr rembrandt and his beautiful use of light and again just enough he's like master of simplicity of light and shadow just enough sculpting beautifully so if you have closed your eyes and just look at that and think if you use well you know colors in your painting and you can half close your eyes and see something like that it's gonna work it's interesting with this composition without that quarter circle on the top right? That wouldn't be a strong composition interesting, isn't it? He put that quarter circle there and it's like if you cut that out yeah, it I mean of course he's a master it's amazing amazing portrait self portrait but that circle that something about it it creates such tension and then you've got that circle with these diagonal was here fantastic and then that horizontal here right across that so anyway really interesting to think about this as we're playing with ideas vermeer on again talking of, you know, the power of selective accent color that read I mean, doesn't that make it amazing little story about a mere one of you know, he's I think there's only fortysomething paintings of amir in existence on dh he's one of the artists who hockney in his theory supposes used the camera obscura or camera camera lucida but there was one of them is paintings was restored on dh was that you restored like, in I think the eighteenth century and it wasn't restored very well answer the restorer had painted over part of the painting and it just looked wrong on dh years later they had to re restore it and make up for the damage of the restorer. But what was interesting was the problem with the restorer in the eighteenth century was that they had made the contours too sharp so it wasn't this painting, but they made the edges of where color meets to shop and in fact one of the things about vermeer you know, he has this incredible realism is amazing, but if you ever look really, really close there's a softness to his edges, they're not absolutely shop on dh, so I think that's another thing to think about and when women working in painter is if you have edges, let's, play with him, let's, make him let's, lose the contours, let's, lose the edges, sometimes bring him back sometimes, but not having to shop. Same, same thing as john singer sargent. So that sort of brings us to the conclusion of a historical review. Jeremy, we this was really great. I mean, covering, all, just taking a look at that. And there was a lot of chat in the rooms about how much they appreciated you, taking a look and just taking some time to do this. So this was really fantastic, but I think it's important, because, well, I don't want to forget. Is that what all of this is about painting and expressing so it doesn't mean anything if it's just, you know, this is how you do this in this in a software program. This is what it's about what painting.